Federico Borromeo and the Ambrosiana: Art Patronage and Reform in Seventeenth-Century Milan by Pamela M. Jones

Abstract

Federico Borromeo and Ambrosiana: Art Patronage and Reform tn Seventeenth-Century Milan. By Pamela M. Jones. (New York: Cambridge University Press. 1993. Pp. xiv, 386, 100 plates. $95.00). Pamela Jones has written a splendid scholarly study of Federico Borromeo (1564-1631), cardinal-archbishop of Milan and younger cousin of Saint Carlo Borromeo, who during his archiepiscopate (1595-1631) established Ambrosiana, an museum, library, and studio for aspiring artists of diocese of Milan. Borromeo's institution was unique in bringing together under one roof artists and work for reforming religious scholarship and figurative arts in response to decrees of Council of Trent (p. 2). Jones's purpose is to analyze and interpret Federico's program for arts so as to enhance our understanding of post-Tridentine attitudes toward style, subject matter, and functions of sacred in Italy circa 1590 to 1630 (p. 19). She focuses on Borromeo's activities and ideas in a way that embraces both his historical and his art-historical interests. Her investigations look at the way and religious thought come together in Borromeo's or,What did Borromeo want out of sacred art, that is, what was his conception of its efficacy? (p. 2). Jones's subject is a significant one, for Borromeo is first prelate in Christian tradition to conceive of creating an entire institution-not just specific works of art-to reform art and make it serve a specific objective. Her method, too, allows us to follow Borromeo in implementing his vision. Jones's work falls into two parts: Part I deals comprehensively with Borromeo's life and background, writings, and foundation of Ambrosian Library, Academy, and Museum; next three chapters offer an enlightening interpretation of this material focusing on tripartite spiritual role-devotional, didactic, and documentary (p. 11)-that was to play. In Borromeo's spiritual conception, each aspect related closely to others in its appeal to full human personality. Part II is a richly detailed catalogue with appendices to supplement Part I. Important here is chronology of Borromeo's acquisitions for Ambrosian Museum. Catalogue I lists entirety of pieces of in original Ambrosian Museum, and Catalogue II includes Borromeo's collection of portraits of famous persons.The work also includes two appendices that include official codicils of 1607 and 1611 to Borromeo's will, listing works of donated to Ambrosiana; Appendix III gives 1618 donation. Readers will appreciate Jones's approach,which goes beyond traditional judgment that artistic production of post-Tridentine era is essentially restrictive and did little more than merely respond to ecclesiastical directives for clarity and simplicity. Jones recognizes that much more was in play: reformers, and their artists as well, pursued richer, less monolithic, and more threedimensional (p. 7) goals than earlier generations of critics have acknowledged. She goes beyond monolithic model of Catholic reformer directing artist's representation of each iconographic detail (much like traditional view of biblical inspiration). …